I’ll be taking part in a panel today on language diversity in the literatures of Berlin.
Come to the Literarisches Colloquium in Wannsee!
4:30 – 6 p.m.
PANEL III: Berliner Futur – entropische Literaturen?
Keynote: Anne Fleig
Participants: Andrea Scrima, Eugen Ruge, Mitja Vachedin, Anne Fleig
Moderation: Martin Jankowski
Featured Poet: Amora Bosco
A conversation with Patricia Thornley published on 3QuarksDaily
From November 17, Patricia Thornley’s work The Western, part of her series THIS IS US, is on view as part of the group exhibition “Empathy” at Smack Mellon Gallery in Brooklyn, New York. The project is the latest in a seven-year series of installation and single-channel video works consisting of interviews and performances. Previous videos of the series are An American in Bavaria (2011), Don’t Cry for Me(2013), and Sang Real (2015). As a whole, THIS IS US formulates multiple parallel inquiries into the collaborative fantasies Americans enact through popular media. In the current political climate, as the escalation of social and economic forces impacting millions of lives is cast into increasingly sharp relief, these fantasies take on new urgency and, in many cases, a new absurdity.
The Western’s cast of characters consists of these Civil War-era archetypes: Indian Scout, Beast of Burden, Frontiersman, Savage, Deserter, Justice, and Drifter. The work is conceived as a two-part installation in which the cinematic trope of the Western is used as a framework for inquiring into the American psyche. In the exhibition space, a projected “movie” is installed opposite a wall of screens playing a series of interviews with the seven participating characters.
Andrea Scrima: Patricia, a few years ago I conducted an interview with you about a previous work of yours, Sang Real (2015), for the online poetry magazine Lute & Drum. Now, with The Western, the overall structure of THIS IS US is coming more and more clearly into focus. The last time we spoke at length about your series was a year and a half before the last presidential election. How have recent changes on the political landscape affected your approach to the themes in your work?
Patricia Thornley: From the beginning in the THIS IS US series, one of the questions I asked in my interviews with the people who featured in the individual videos was “how do you feel about being an American?” Historically, there’s always been a certain political disconnect at play with Americans, due to less armed conflict on our own soil and a certain comfort level.
I didn’t ask this question because I was trying to be instructive, but because one of the most important aspects of my work is to observe opposing and conflicting states of consciousness and to create situations that attempt a kind of uncommon reconciliation of these states. So in terms of what has changed I would say that what I was perceiving as a state of unconsciousness (pre-Trump) has been pushed to the surface by outrage and fear.
Growing up in New York, moving to Berlin, becoming an artist and giving it all up to write. An hour-and-a-half program with the incomparable Joachim Scholl. Featuring the music of Christian von der Goltz.
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“The novel oscillates between mediated reflection, immediate perceptual state, and, later on, madness. This stage of perception does entirely without any sort of explanation. It’s about immediacy. The self is fully within it, there’s no help from without, no visible motive to reconstruct reflection a posteriori. That’s how it is with our perception. To my mind, when it comes to language, things start to get interesting. We trust reflection and reason so much more. Pure perception is trusted less, but insanity is never trusted. In the novel, we have an unreliable narrator telling the story after it’s already occurred. You might assume that the events were reflected upon and are now related through this conscious filter. But that’s not the case. Only in madness can you see what’s actually going on. The body itself speaks, unfiltered, directly. It’s a huge, profound immediacy that we can’t rationally grasp. It’s another language, like the language of dreams. You want to decode it, but there’s no code. In the novel, it presents as a primordial language, as opposed to a verbal one: a language of images that exerts its effect directly. It just does this, and the reader has to surrender to it to get any closer.”